Exercise XI.

Combine these two exercises in the following manner: Begin at the upper right side, proceed to the lower left, thence to the upper left and then to the lower right, so that this figure, would be produced; at first slowly (six times), then faster (six times).

Exercise XII.

Open the mouth wide; proceed with the tip of the sharply-pointed tongue from the right to the left, brushing the upper lip and passing along the lower lip back to the right without interruption (six times), slowly; then (six times), growing faster by degrees; repeat from the left to the right in the same manner.

Exercise XIII.

Repeat the same exercise along the inner side of the lips. During this exercise touch the lips sharply with the tip of the tongue. Do not open the mouth too wide here.

Exercise XIV.

Repeat the same exercise along the outer side of the lips.

Let it be borne in mind that the purpose of these exercises is to sharpen the tongue, and that they must be faithfully performed.

Exercise XV.

Protrude the root of the lowered tongue without allowing its tip to pass beyond the front teeth (ten, twelve times).

Exercise XVI.

Sing a tone (a), holding it as long as possible, without allowing it to lose its clear character, and at the same time try to make a circling movement with the tip of the tongue; and later, when this exercise has been fully

mastered, try to make a horizontal movement with the tip of the tongue from one side of the mouth to the other, first slowly and then gradually increasing in rapidity.

To hold down the tongue by means of a stick or the handle of a tooth-brush, I do not consider at all beneficial. He who does not learn to move the muscles of the tongue independently, will not derive any aid by forcibly holding down the tongue, or the aid will only last as long as the forcible pressure continues. The only radical cure for the incorrect activity of the muscles of the tongue lies in its perfect control, and this control can only be obtained by means of the exercises prescribed.

He who, during the activity of the muscles of the larynx, is able thus to move the tongue, will also be able to keep it in an inactive state.

THE SOFT-PALATE.

Exercise XVII.

The exercise for the soft-palate consists in opening the mouth wide, and attempting to raise the soft-palate without singing. Here also it would be serviceable if the raising of the palate occurred during deep inspiration through the mouth, the nostrils being closed.

THE LIPS.

Exercise XVIII.

The exercise for the lips is the following: Attempt to move them singly; for instance, draw the under lip downward without allowing the upper lip to move, and vice versa. Produce a tone, hold it a while, and make the same movements of the lips. He who has mastered the muscles of the lips singly, can let them rest when they are not to act.

THE LOWER JAW.

Exercise XIX.

Sing and hold a tone, moving the lower jaw (without any pressure upon the larynx) horizontally to right and left, and then describe a slightly circling movement. The object of this is to free the muscles used in chewing.

Great diligence is needed to attain the ability of moving the lower jaw correctly, and we consider it very necessary to call attention to a mannerism, which we shall do in Part III, under "Correction of Defects." In passing, we will remark that a certain stiffness or incorrect use of the lower jaw is the consequence of the habit of setting other unnecessary muscles into activity in the use of the larynx and the tongue.

I have met speakers and singers whom I really pitied. The veins of their neck swelled to the thickness of a small finger; the neck itself attained an unusual size, their face became red as fire and their eyes, whose whites had become reddish, protruded from their sockets. And all this on account of incorrect activity of their muscles, ignorance of the correct method of breathing and ill-treatment of their vocal and articulating organs. The consequences thereof were a quick, noticeable tiredness, even after slight tasks, and finally a total disability of the vocal organs. And it is curious that these people look for the cause in everything else but in this mistake.

A particular peculiarity of people who speak and sing in this manner, is the compression of the upper chest by the shoulders and arms, and a permanent shaking of the head, as well as the lifting of the chin by spasmodic action of the muscles of the neck.

I have known singers who thought they could not sing a high tone without crossing the arms upon their chest, as if imploring, and thus, instead of freeing the chest of all pressure, pressed it together.

A false activity of the muscles occurs oftener, both in speaking and singing, than we think. A young man, who, after twelve years of troublesome practice in art, had not, with all diligence, passed the beginning; whose organs, though good, were almost spoiled by wrong use, determined to become my pupil. After three months' activity, having freed him from the nightmare that lay upon his organs as well as upon his heart, he was satisfied with the total change that had come over his being. He confessed to me that he had formerly not been able to appear upon the stage without straining all his muscles in the most unnatural manner; and when reproached for not being able to walk, stand, or move, he had sorrowfully asked himself, "What shall I do?" Despairing, he began to think that nature had neglected him, and that he must waste his life-and he was a goodlooking young man, blessed with all other advantages. When he had become entirely changed, the regret for the twelve years he had wasted mastered him and he wept. I could only comfort him by holding before him the fine prospect for his future career. I could name dozens of similar instances, but will only make the following

remarks:

We are too apt to regard every peculiarity of an organ (caused by incorrect use) as something peculiarly given by nature to that organ only, and we can be assured that (not counting a certain timbre peculiar to each voice) such an organ would sound altogether different, and would hardly be recognizable if, in the production of the tone, the activity of the muscles were a correct one. Many persons, by

a slight but noticeable speaking through the nose, by a mannerism of always speaking high or low, strong or weak, pointed or screaming, through the teeth, or otherwise forced, attain a certain individual coloring which is lost as soon as the organs are used correctly.

When a person is inclined to use the larynx incorrectly, or generally to act with incorrect muscular activity, then, as a general thing, all the muscles are strained unnaturally, and thus hinder the free development of the organs.

SECTION 6.

HOW TO PREVENT UNNATURAL STRAINING OF THE MUSCLES.

An unnatural straining of the muscles can only be overcome by the pupil, while speaking and singing in a certain tempo, making certain movements with his arms in a different tempo, and also by slightly turning the head to the right and left while the tone continues, and by generally preventing the limbs from assuming a stiff attitude.

SECTION 7.

TONES PRODUCED BY INCORRECT Use of the ORGANS.

Four tone-colors in particular are produced by incorrect position of the organs:

1. Palatal tones.

2. Nasal tones.

3. Guttural tones.

4. Dental tones.